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Namibia offers spectacular landscapes. Incredible sunrises and sunsets. Amazing starry nights with no lights to disturb you. There are no words to express the emotions that overwhelm you. You can only experience it first hand.
Namibia ofrece espectaculares paisajes. Increibles amaneceres y ocasos. Alucinantes noches estrelladas sin luces que molesten. No hay palabras para expresar las emociones que te embargan. Solo se puede vivir en primera persona.
Belgian postcard offered by Korès Carboplane, no. 101. Photo: Universal International.
Rita Gam (1927-2016) was an American film and television actress and documentary filmmaker. She was nominated for a Golden Globe and won the Silver Bear for Best Actress.
Rita Gam was born in 1927. Her acting career began on Broadway and in television, after which she moved on to films. She first appeared in the film noir The Thief (Russell Rouse. 1952), which starred Ray Milland. She was nominated for a Golden Globe as Most Promising Newcomer. Another interesting film noir was Night People (Nunnally Johnson, 1954) with Gregory Peck. She was a bridesmaid at her good friend Grace Kelly's wedding to Prince Rainier of Monaco. In Italy, she starred opposite Alberto Sordi in the comedy Costa Azzurra (Vittorio Sala, 1959) and she was the leading lady of the Peplum Annibale/Hannibal (Carlo Ludovico Bragaglia, Edgar G. Ulmer, 1959) featuring Victor Mature.
Rita Gam had another notable role as Herodias in King of Kings (Nicholas Ray, 1961) about the life of Christ. She shared the Silver Bear for Best Actress award with Viveca Lindfors at the 1962 Berlin Film Festival, for their performances in No Exit (Tad Danielewski, Orson Welles (uncredited), 1962), based on the play by Jean-Paul Sartre. Later she appeared in small parts in films like Klute (Alan J. Pakula, 1971), before taking up documentary filmmaking. She was married to Thomas Henry Guinzburg, Jr. and director Sidney Lumet. Rita Gam died in 2016 of respiratory failure at Cedars-Sinai Medical Center in Los Angeles. She was married to director Sidney Lumet and to Thomas Henry Guinzburg, Jr., the first managing editor of The Paris Review and president of Viking Press. Survivors include her daughter, film producer Kate Guinzburg, her son, novelist Michael Guinzburg; and granddaughters Michelle, Olivia and Louisa. Rita Gam was 88.
Sources: The Hollywood Reporter, Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
This primitive campground and day use area offers a scenic view of the San Francisco Peaks in the cool aspen trees that surround Lockett Meadow. This is a terrific campground for those who cherish a real mountain camping experience and love to hike wilderness trails. There is a small day use area, making this a beautiful place to have a picnic and enjoy the meadow and Peaks views.
The Inner Basin Trail ascends from Lockett Meadow into the caldera of the San Francisco Peaks, an extinct volcano and home of the tallest peaks in Arizona. The first 1.7 miles of the trail winds through the extensive aspen forest flanking the upper reaches of the Peaks, joining the Waterline Trail briefly before following a jeep road into the caldera. The trail starts at an elevation of 8665 feet, gaining approximately 1200 feet over 2 miles on its way into the Inner Basin. The trail continues another 2 miles, gaining an additional 600 feet or so to join up with the Weatherford Trail.
Photo by Deborah Lee Soltesz, September 28, 2015. Source: U.S. Forest Service, Coconino National Forest. See Lockett Meadow Campground and Inner Basin No. 29 for information about this area of the Peaks on the Coconino National Forest website.
French postcard by Editions P.I., Paris, offered by Corvisart, Epinal, no. 1080. Photo: Ektochrome Anders.
From 1961 until 1963 Helen Shapiro (1946) was England's teenage pop music queen, at one point selling 40,000 copies daily of her biggest single, 'Walkin' Back to Happiness', during a 19-week chart run. The singer and actress was only 14 when she was discovered. Shapiro had a rich, expressive voice properly sounding like the property of someone twice as old, and she matured into a seasoned professional very quickly.
Helen Kate Shapiro was born in Bethnal Green, London in 1946. She is the granddaughter of Russian Jewish immigrants, and her parents, who were piece-workers in the garment industry, attended Lea Bridge Road Synagogue. They were too poor to own a record player but encouraged music in their home. At age 9, Helen performed with a ukulele in the school group Susie & the Hula Hoops, whose members included also a young Mark Feld aka Marc Bolan). Reportedly, they performed their own versions of Elvis Presley and Buddy Holly songs. She subsequently sang with her brother Ron Shapiro's trad jazz turned skiffle outfit at local clubs before enrolling in classes at Maurice Burman's music school in London. Shapiro had a deep timbre to her voice, unusual in a girl not yet in her teens. School friends gave her the nickname ‘Foghorn’. Maurice Burman was so enamoured of Helen’s talent that he waived the fees to keep her as a student. He wrote to several record labels to promote interest in his students. EMI Records sent producer John Schroeder, who heard her at one of the classes and was impressed enough to record her and play it back for top EMI producer Norrie Paramor , who had signed Cliff Richard & the Shadows. Helen Shapiro's voice on the rape was so mature that Paramor refused to believe that it belonged to a 14-year-old girl. So, Helen came to his office in her school uniform and sang St. Louis Blues. Only a few weeks later, she cut her first single, Please Don't Treat Me Like a Child, composed by John Schroeder and Mike Hawker. It made number three in the UK charts in May 1961, and the record company’s publicity department made great play on the novelty value of her age. Shapiro’s second release, the ballad You don’t know, was issued three months later. In August 1961, it made 14-year-old Helen the youngest female artist to reach number one. The song stayed at the top of the charts for two weeks and eventually sold over a million copies. In September that year she turned 15 and left school to pursue her career in earnest. Live appearances showcased Helen’s assuredness as a performer. She even headlined at the legendary London Palladium, virtually unheard of for such a young, inexperienced entertainer.
Helen Shapiro had her second number one hit in the UK with Walkin' Back to Happiness. It is now her signature song. Her mature voice made her an overnight sensation. The song also became a hit in the rest of Europe and inspired an attempt to crack the American market. However, despite an appearance on the legendary Ed Sullivan Show, the record only reached # 100 in the US charts. In 1962 she made her debut feature film, It's Trad, Dad!/Ring-A-Ding Rhythm (1962, Richard Lester). This musical comedy was one of the first films put out by predominantly horror company Amicus Productions, and director Richard Lester's feature debut. Shapiro and singer Craig Douglas play two teenagers who, along with their friends enjoy the latest trend of traditional jazz. However, the mayor as well as a group of adults dislike the trend and move to have a coffee shop jukebox taken away. Helen and Craig decide to organize a music festival in their small town, and the film comprises musical numbers by Chubby Checker, Del Shannon, and Gene Vincent. Jeff Stafford at TCM: "Any Richard Lester fan can look at It's Trad, Dad and see the fresh and distinctive techniques that would fully emerge in Lester's A Hard Day's Night. For one thing, Lester's playful editing style keeps the viewer constantly engaged while also paying tribute to the musicians on display. (...) Douglas is a pleasant but unremarkable light pop vocalist but Shapiro is a little dynamo with a powerful voice comparable to Brenda Lee." Shapiro then starred in another teenage musical, Play It Cool (1962, Michael Winner) featuring Billy Fury and the Satellites and Bobby Vee. Before she was sixteen years old, Shapiro had been voted Britain's 'Top Female Singer', and when The Beatles had their first national tour (The Helen Shapiro Tour) in 1963, it was as her supporting act. During the tour The Beatles hit big and replaced Helen as top of the bill. Helen later found out that it was around this time that Lennon and McCartney penned Misery for her, but Paramor declined the offer without informing her. He preferred to release Queen for tonight, a firm fan favourite and a much-requested song, but slightly out of step with current trends. It reached a disappointing 33 in the UK charts. In early 1964, her cover of Fever proved her last top 40 hit.
By the time Helen Shapiro was in her late teens, her career as a pop singer was on the wane. Undaunted, she branched out as a performer in stage musicals, a jazz singer (jazz being her first love musically), and more recently a gospel singer. She also began to concentrate more on stage work. In the early 1980’s she played the role of Nancy in Lionel Bart's musical, Oliver! in London's West End. Various other musicals, pantomimes and revival concerts followed. She also continued to tour, especially in mainland Europe and the Far East, where she remained in demand. Throughout the 1980’s she made guest appearances on many TV variety shows, either singing her old songs or promoting the odd new release. Shapiro also appeared in British television soap operas; in particular Albion Market (1985) where she played one of the main characters up to the time it was taken off-air in August 1986. In August 1987 Shapiro became a committed Christian (Messianic believer). She has issued four Messianic albums since then, as well as appearing in a number of special Gospel Outreach evenings, singing and telling of how she found Jesus (Yeshua) as her Messiah. Shapiro retired from showbusiness at the end of 2002 to concentrate on her Gospel Outreach evenings. In 1993, she published her autobiography, Walking Back to Happiness. She was married three times: Duncan C. Weldon (1967-1971), Morris Gundlash (1972-1977) and John Judd (1988-), an actor with numerous roles in British television and cinema. The couple lives in Kent.
Sources: Jeff Stafford (TCM), Graham Welch (Ready Steady Girls), Bruce Eder (AllMusic), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Last week, two of my friends offered to take me on a tour of the jewels of Norfolk churches. Despite having lived in either north Suffolk or Norfolk most of my life, back in those days I had no idea about churches, nor half the villages where these jewels can be found, even existed.
First on the list was Salle.
It was a grim, wet and misty morning when Sarah and Richard picked me up at the Catholic Cathedral, and so we made our way against the rush hour traffic whilst Richard tried to keep the windscreen clear as my clothes dried out causing a slight fog in the car.
Ss Peter and Paul seems to be in the middle of nowhere, with just two other buildings keeping it company. Salle was clearly a rich parish back in the day, as it is a huge church, serving the village and the large country house, lost to view behind trees nearby.
It is a church that has something for everyone: font and cover, support arm for font cover, good glass, fine memorials, two hidden chapels, painted screens and carved bosses. And so much more beside.
Here is what my friend Simon has to say. He likes it too.
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During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough to impress. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.
St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.
Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.
As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.
You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower.
The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets as at Great Witchingham).
You can see all these panels below - click on them to enlarge them. The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the actual fabric of the building was complete by this date.
Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.
Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the hideous modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.
Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena. You can see all these above.
Despite the wonders of the font, the screen and the glass, the great glory of the building for me is the set of bosses that line the roof of the chancel. They are easily missed, being very high, and need a good lens; a couple of my photos did not come out as well as I'd hoped, and so I must go back, as if I needed an excuse. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection , and the Ascension into Heaven. You can see these last eight in John Salmon's splendid photographs below.
There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.
Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord! The benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching.
Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.
Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.
There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.
One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?
This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.
Simon Knott, June 2004
Offered by Deco International Corporation of Pacoima CA, which would import and modify the vehicle to meet EPA and
DOT regulations at a cost of $12,900.
Pam and I were walking along the rocky shore at Uplands Park in Victoria, British Columbia. This image - it offered itself, really. One of the small regional ecosystems seen planetarily.
offered as a Christmas gift by my children... thank you!
I added 3 textures by Kim Klassen, "kk_1811", kk_3101" & "bestill"
font: Pea Amy G
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Rijks Museum - National Museum of Netherlands
Vision
The Rijksmuseum links individuals with art and history.
Mission
At the Rijksmuseum, art and history take on new meaning for a broad-based, contemporary national and international audience.
As a national institute, the Rijksmuseum offers a representative overview of Dutch art and history from the Middle Ages onwards, and of major aspects of European and Asian art.
The Rijksmuseum keeps, manages, conserves, restores, researches, prepares, collects, publishes, and presents artistic and historical objects, both on its own premises and elsewhere.
From 1800 to 2013
The Rijksmuseum first opened its doors in 1800 under the name ‘Nationale Kunstgalerij’. At the time, it was housed in Huis ten Bosch in The Hague. The collection mainly comprised paintings and historical objects. In 1808, the museum moved to the new capital city of Amsterdam, where it was based in the Royal Palace on Dam Square.
After King Willem I’s accession to the throne, the paintings and national print collection were moved to the Trippenhuis on Kloveniersburgwal, while the other objects were returned to The Hague. The current building was put into use in 1885. The Netherlands Museum for History and Art based in The Hague moved into the same premises, forming what would later become the departments of Dutch History and Sculpture & Applied Art.
The beginning
On 19 November 1798, more than three years after the birth of the Batavian Republic, the government decided to honour a suggestion put forward by Isaac Gogel by following the French example of setting up a national museum. The museum initially housed the remains of the viceregal collections and a variety of objects originating from state institutions. When the Nationale Kunstgalerij first opened its doors on 31 May 1800, it had more than 200 paintings and historical objects on display. In the years that followed, Gogel and the first director, C.S. Roos, made countless acquisitions. Their first purchase, The Swan by Jan Asselijn, cost 100 Dutch guilders and is still one of the Rijksmuseum’s top pieces.
Move to Amsterdam
In 1808, the new King Louis Napoleon ordered the collections to be moved to Amsterdam, which was to be made the capital of the Kingdom of Holland. The works of art and objects were taken to the Royal Palace on Dam Square, the former city hall of Amsterdam, where they were united with the city’s foremost paintings, including the Night Watch by Rembrandt. In 1809, the Koninklijk Museum opened its doors on the top floor of the palace.
A few years after Willem I returned to the Netherlands as the new king in 1813, the ‘Rijks Museum’ and the national print collection from The Hague relocated to the Trippenhuis, a 17th-century town-palace on Kloveniersburgwal, home to what would later become the Royal Netherlands Academy of Arts and Sciences. Much to the regret of the director, Cornelis Apostool, in 1820 many objects including pieces of great historical interest were assigned to the Kabinet van Zeldzaamheden [Royal Gallery of Rare Objects], which had been founded in The Hague. In 1838, a separate museum for modern 19th-century art was established in Paviljoen Welgelegen in Haarlem. Contrary to the days of Louis Napoleon, very few large acquisitions were made during this period.
Cuypers Cathedral
The Trippenhuis proved unsuitable as a museum. Furthermore, many people thought it time to establish a dedicated national museum building in the Netherlands. Work on a new building did not commence until 1876, after many years of debate. The architect, Pierre Cuypers, had drawn up a historic design for the Rijksmuseum, which combined the Gothic and the Renaissance styles. The design was not generally well-received; people considered it too mediaeval and not Dutch enough. The official opening took place in 1885.
Nearly all the older paintings belonging to the City of Amsterdam were hung in the Rijksmuseum alongside paintings and prints from the Trippenhuis, including paintings such as Rembrandt’s Jewish Bride, which had been bequeathed to the city by the banker A. van der Hoop. The collection of 19th-century art from Haarlem was also added to the museum’s collection. Finally, a significant part of the Kabinet van Zeldzaamheden, which had by then been incorporated into the new Netherlands Museum for History and Art, was returned to Amsterdam.
Renovations
Over the years, collections continued to grow and museum insight continued to expand, and so the Rijksmuseum building underwent many changes. Rooms were added to the south-west side of the building between 1904 and 1916 (now the Philips wing) to house the collection of 19th-century paintings donated to the museum by Mr and Mrs Drucker-Fraser. In the 1950s and 1960s, the two original courtyards were covered and renovated to create more rooms.
In 1927, while Schmidt-Degener was Managing Director, the Netherlands Museum was split to form the departments of Dutch History and Sculpture & Applied Art. These departments were moved to separate parts of the building after 1945. The arrival of a collection donated by the Association of Friends of Asian Art in the 1950s resulted in the creation of the Asian Art department.
The 1970s saw record numbers of visitors of almost one-and-a-half million per year, and the building gradually started to fall short of modern requirements.
‘Verder met Cuypers'
The current renovation reinstates the original Cuypers structure. The building work in the courtyards are removed. Paintings, applied art and history are no longer displayed in separate parts of the building, but form a single chronological circuit that tells the story of Dutch art and history.
The building is thoroughly modernized, while at the same time restoring more of Cuypers original interior designs: the Rijksmuseum has dubbed the venture ‘Verder met Cuypers‘ [Continuing with Cuypers]. The Rijksmuseum will be a dazzling new museum able to satisfy the needs of its 21st-century visitors!
Every year, the Rijksmuseum compiles an annual report for the previous year. Annual reports dating back to 1998 can be found here (in Dutch only). Reports relating to the years before 1998 are available in the reading room of the library.
O Museu Rikjs é um dos maiores e mais importantes museus da Europa.
É o maior dos Países Baixos, com acervo voltado quase todo aos artistas holandeses. As obras vão desde exemplares da arte sacra até a era dourada holandesa, além de uma substancial coleção de arte asiática.
Esse é o Rijksmuseum, o Museu Nacional dos Países Baixos. E aproveite, caro leitor, porque o Rijks esteve parcialmente fechado para reforma durante 10 anos – voltou a funcionar só em 2013. Ou seja, quem esteve em Amsterdam na última década não conheceu o Rijks, pelo menos não completamente.
Mas o quê tem lá? Muita coisa. Destaque para as coleções de arte e História holandesas. Os trabalhos dos pintores Frans Hals e Johannes Vermeer são alguns dos mais concorridos, mas imbatível mesmo é Rembrandt van Rijn, considerado um dos maiores pintores de todos os tempos. Se você não é um fã de museus de arte, mas faz questão de conhecer o trabalho desses grandes artistas, uma dica: assim que chegar ao Rijks, vá direto para a ala onde estão as obras-primas. Assim você vê o mais importante no início da visita, quando ainda está descansado e poderá dedicar o tempo necessário para essas obras.
A mais famosa delas é a “A Ronda Noturna”, de Rembrandt, uma obra que inspirou músicas, pinturas, filmes e até um flash mob. Quando o Rijks foi reaberto, artistas recriam a cena mostrada no quadro dentro de um shopping de Amsterdam. A ação está no vídeo abaixo e eu te garanto que vale a pena dar play.
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Rijksmuseum, Museu Nacional
42 Stadhouderskade
Amsterdam
O museu Rijksmuseum de Amsterdã é o Museu Nacional da Holanda, onde você encontrará uma impressionante coleção permanente, formada por 5.000 pinturas e 30.000 obras de arte, além de 17.000 objetos históricos.
Esse museu nacional foi fundado em 1885 e está instalado em um edifício de estilo neogótico. A sua principal atração é a extensa coleção de quadros pintados por artistas holandeses, abrangendo um período que vai do séc. XV aos dias de hoje. A obra de arte mais famosa em exibição é o quadro A Ronda Noturna, de Rembrandt.
O museu Rijksmuseum está dividido em cinco departamentos: pintura, escultura, arte aplicada, arte oriental, história dos Países Baixos e gravuras. O núcleo da coleção é a pintura e suas obras mais representativas são as que pertencem ao Século de Ouro holandês, com quadros de artistas como Rembrandt, Vermeer ou Frans Hals.
Ver fonte: dreamguides.edreams.pt/holanda/amsterda/rijksmuseum
Museu Rijks, Amesterdão
O Museu Rijks (Museu Nacional) é um edifício histórico, sendo o maior museu nos Países Baixos. O Museu é o maior no numero relativamente às suas colecções, na área do edifício em si, no financiamento e no numero de funcionários empregados.
Cada ano, mais de um milhão de pessoas visitam o Museu Rijks. O Museu emprega cerca de 400 pessoas, incluindo 45 conservadores de museu que são especializados em todas as áreas.
O Museu Rijks é internacionalmente reconhecido pelas suas exibições e publicações, mas não só apenas por estes produtos de grande qualidade, mas também pelas áreas no museu em si que são fonte de inspiração e encorajam a criação de novas ideias.
O museu também tem recursos consideráveis para a educação, para a decoração e apresentação de exibições. Importantes designers são regularmente chamados a trabalharem em projectos no Museu Rijks.
O edifício principal do Museu Rijks está a ser renovado. A boa noticia é que a melhor parte da exposição está apresentada na redesenhada ala Philips. O nome desta exposição denomina-se "The Masterpieces'.
O museu abre diariamente das 10 da manhã até ás 5 da tarde.
A entrada é pela Stadhouderskade 42.
Rijksmuseum
Origem: Wikipédia, a enciclopédia livre.
O Rijksmuseum é um museu nacional dos Países Baixos, localizada em Amsterdão na Praça do museu. O Rijksmuseum é dedicado à artes e história. Ele tem uma larga coleção de pinturas da idade de ouro neerlandesa e uma substancial coleção de arte asiática.
O museu foi fundado em 1800 na cidade da Haia para exibir a coleção do primeiro-ministro. Foi inspirado no exemplo francês. Pelos neerlandeses ficou conhecida como Galeria de Arte. Em 1808 o museu mudou-se para Amsterdã pelas ordens do rei Louis Napoleón, irmão de Napoleão Bonaparte. As pinturas daquela cidade, como A Ronda Nocturna de Rembrandt, tornaram-se parte da coleção.
Em 1885 o museu mudou-se para sua localização atual, construído pelo arquiteto neerlandês Pierre Cuypers. Ele combinou elementos góticos e renascentistas. O museu tem um posição proeminente na Praça do Museu, próximo ao Museu van Gogh e ao Museu Stedelijk. A construção é ricamente decorada com referências da história da arte neerlandesa. A Ronda Nocturna de Rembrandt tem seu próprio corredor no museu desde 1906. Desde 2003 o museu sofreu restaurações, mas as obras-primas são constatemente presentes para o público.
A coleção de pinturas inclui trabalhos de artistas como Jacob van Ruysdael, Frans Hals, Johannes Vermeer e Rembrandt e de alunos de Rembrandt.
Em 2005, 95% do museu está fechado para renovação, mas as pinturas da coleção permanente ainda estão em mostra em uma exibição especial chamada As Obras-primas.
Algumas das pinturas do museu:
Rembrandt van Rijn
A Ronda Nocturna
Os síndicos da guilda dos fabricantes de tecidos
A noiva judia
A lição de Anatomia do Dr. Deyman
Pedro negando Cristo
Saskia com um véu
Retrato de Titus em hábito de monge
Auto-retrato como Apóstolo Paulo
Tobias, Ana e o Bode
Johannes Vermeer:
A Leiteira
A Carta de Amor
Mulher de Azul a ler uma carta
A Rua pequena
Frans Hals:
Retrato de um jovem casal
A Companhia Reynier Real
O bebedor alegre
Retrato de Lucas De Clercq
Retrato de Nicolaes Hasselaer
Retrato de um homem
Página oficial do Rijksmuseum
Virtual Collection of Masterpieces (VCM)
O melhor museu de Amsterdam: Rijksmuseum
O Commons possui uma categoria contendo imagens e outros ficheiros sobre Rijksmuseum
Rijksmuseum Amsterdam
1/4
Se você visitar Amsterdam, precisará conhecer o Museu Nacional da Holanda: Rijksmuseum Amsterdam. O Museu Nacional fica na Praça do Museu, situada no centro de Amsterdam. O Museu Nacional, ou Rijksmuseum, possui uma maravilhosa coleção de arte e história holandesas. Após uma visita ao Rijksmuseum, você saberá mais sobre história e arte e terá visto alguns dos maiores marcos culturais da Holanda.
Obras-primas do Museu Nacional
Ao todo, a coleção do Rijksmuseum apresenta a história da Holanda em um contexto internacional, desde 1.100 até o presente. Há alguns ícones da história e cultura da Holanda que você não pode perder:
Ronda Noturna (de Nachtwacht) de Rembrandt é uma das mais famosas obras desse mestre holandês e é de tirar o fôlego.
O Rijksmuseum tem uma das melhores coleções de pinturas dos grandes mestres do século XVII, como Frans Hals, Jan Steen, Vermeer e Rembrandt.
Assim como o Museu Histórico de Haia, o Rijksmuseum apresenta lindas casas de bonecas, mobiliadas em detalhes, datando de 1676.
Se você não puder ir ao Delft Real, pode ainda apreciar algumas das melhores cerâmicas de Delft, de conjuntos de chá a vasos, no Museu Nacional.
Museu que é visita obrigatória em Amsterdam
Quer sua estadia em Amsterdam seja breve ou longa, você deve visitar o Rijksmuseum. Chegue cedo para evitar enfrentar filas. Combine a visita ao Rijksmuseum com várias outras atrações próximas, como o Museu Van Gogh, o Museu Stedelijk Amsterdam e a Coster Diamonds
Para obter mais informações sobre Amsterdam, retorne à página sobre Amsterdam ou à página sobre os museus de Amsterdam.
Last week, two of my friends offered to take me on a tour of the jewels of Norfolk churches. Despite having lived in either north Suffolk or Norfolk most of my life, back in those days I had no idea about churches, nor half the villages where these jewels can be found, even existed.
First on the list was Salle.
It was a grim, wet and misty morning when Sarah and Richard picked me up at the Catholic Cathedral, and so we made our way against the rush hour traffic whilst Richard tried to keep the windscreen clear as my clothes dried out causing a slight fog in the car.
Ss Peter and Paul seems to be in the middle of nowhere, with just two other buildings keeping it company. Salle was clearly a rich parish back in the day, as it is a huge church, serving the village and the large country house, lost to view behind trees nearby.
It is a church that has something for everyone: font and cover, support arm for font cover, good glass, fine memorials, two hidden chapels, painted screens and carved bosses. And so much more beside.
Here is what my friend Simon has to say. He likes it too.
---------------------------------------------------
During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough to impress. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.
St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.
Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.
As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.
You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower.
The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets as at Great Witchingham).
You can see all these panels below - click on them to enlarge them. The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the actual fabric of the building was complete by this date.
Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.
Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the hideous modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.
Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena. You can see all these above.
Despite the wonders of the font, the screen and the glass, the great glory of the building for me is the set of bosses that line the roof of the chancel. They are easily missed, being very high, and need a good lens; a couple of my photos did not come out as well as I'd hoped, and so I must go back, as if I needed an excuse. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection , and the Ascension into Heaven. You can see these last eight in John Salmon's splendid photographs below.
There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.
Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord! The benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching.
Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.
Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.
There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.
One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?
This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.
Simon Knott, June 2004
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Model year 1941 offered the first Buick models with headlamps entirely incorporated in the front wings.
The GM design team was led by Harvey Earl (1893-1969).
This Buick is (or was?) part of the collection of Musée de l'Automobile en Lorraine.
5276 cc L8 engine (not original, originally 4067 cc).
Production Buick Special Series: 1936-Febr. 1942/1946-58/1961-69.
Production Buick Special this version: late 1940-late 1941.
New French reg. number: Var (Provence, Fr.).
Imported from Portugal.
Seen in Musée de l'Auto en Lorraine, officially called Association Lorraine des Amateurs d'Automobiles de Collection (ALAAC).
See also: www.musee-auto-lorraine.fr
Velaine-en-Haye (Meurthe-et-Moselle, Fr.), Allée des Mérisiers, Oct. 27, 2019.
© 2019 Sander Toonen, Amsterdam/Halfweg | All Rights Reserved
All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.
For licensing and commission requests: info{at}elkevogelsang.com -
FACEBOOK | INSTAGRAM | WEBSITE
© Elke Vogelsang
20250226_Batman_BatmanInABox_1
licensing dog images
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stock photos of dogs
stock photos of pets
buy dog photos
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Hundefotos
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EXPLORE 139 - 12.10.07 Merci, Thank You!!!
Listening to the quiet music of all those leaves,
which shortly will fall and been blown away......
Star of hope for my Hero Husband.... Why?
I sent him off at 6am on Monday morning, for his long drive to France where he works.... Shortly before 9am I saw with shock that he left ALL his keys on his desk.... Sent him an SMS and was ordered to meet him 'back' at the Swiss border to hand over the missing and very important stuff!!!!
I couldn't even offer him to meet up somewhere in France as the week before I handed in ALL my official papers to get a NEW passport and a NEW 'Carte d'Identité'.... thus leaving me high and dry in my native Switzerland!!!
We met over a coffee - at 10am - in St. Cergue and Hero Husband (or should I call him now Very Forgetful Husband?) smiled all over his tired face when he hugged me, saying: I am SO happy to meet you again so soon.... Could YOU scold him when he's being so charming?! Surely not - So I buried my 'lost' morning, took some photos and went back home....
I would like to dedicate this shot to Alex -algo - , my dear Master of Mist & Fog...., but differently to HIS photos; my photo here doesn't show the mist in the background at all, only the bright sunshine (star-shine?) in the foreground. BUT Alex, I did take the photo with YOU in mind... :))))
Now, dear friends, please go and visit his exceptional photostream! Forget about me, HE is the 'nature hero' in my eyes!!!
As always, you might want to see this on Black and Larger!
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Get the satisfaction of knowing Kodak offers a lifetime guarantee, but is it for your lifetime or Kodaks lifetime?
I was sorting some old prints on the rainy weekend, and came across some of these memories from the film days.
Truncated Wikipedia text is :-
Kodak was founded by George Eastman in 1889 and in 1976 had a 90% market share of photographic film sales in the United States.
The letter "K" was a favorite of Eastman's; he is quoted as saying, "it seems a strong, incisive sort of letter."
He and his mother devised the name Kodak with an Anagrams set. Eastman said that there were three principal concepts he used in creating the name:
it should be short
one cannot mispronounce it
and it could not resemble anything or be associated with anything but Kodak
In 2011 Kodak rapidly used up its cash reserves, stoking fears of bankruptcy.
On January 19, 2012 Kodak filed for Chapter 11 Bankruptcy Protection.
The photographers of the world have a lot to thank Kodak for.
The Letter P (Pictures) theme
Last week, two of my friends offered to take me on a tour of the jewels of Norfolk churches. Despite having lived in either north Suffolk or Norfolk most of my life, back in those days I had no idea about churches, nor half the villages where these jewels can be found, even existed.
First on the list was Salle.
It was a grim, wet and misty morning when Sarah and Richard picked me up at the Catholic Cathedral, and so we made our way against the rush hour traffic whilst Richard tried to keep the windscreen clear as my clothes dried out causing a slight fog in the car.
Ss Peter and Paul seems to be in the middle of nowhere, with just two other buildings keeping it company. Salle was clearly a rich parish back in the day, as it is a huge church, serving the village and the large country house, lost to view behind trees nearby.
It is a church that has something for everyone: font and cover, support arm for font cover, good glass, fine memorials, two hidden chapels, painted screens and carved bosses. And so much more beside.
Here is what my friend Simon has to say. He likes it too.
---------------------------------------------------
During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough to impress. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.
St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.
Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.
As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.
You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower.
The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets as at Great Witchingham).
You can see all these panels below - click on them to enlarge them. The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the actual fabric of the building was complete by this date.
Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.
Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the hideous modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.
Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena. You can see all these above.
Despite the wonders of the font, the screen and the glass, the great glory of the building for me is the set of bosses that line the roof of the chancel. They are easily missed, being very high, and need a good lens; a couple of my photos did not come out as well as I'd hoped, and so I must go back, as if I needed an excuse. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection , and the Ascension into Heaven. You can see these last eight in John Salmon's splendid photographs below.
There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.
Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord! The benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching.
Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.
Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.
There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.
One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?
This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.
Simon Knott, June 2004
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however we are not at Cavendish Mews. Instead, we have travelled east across London, through Bloomsbury, past the Smithfield Meat Markets, beyond the Petticoat Lane Markets* frequented by Lettice’s maid, Edith, through the East End boroughs of Bethnal Green and Bow, and through the 1880s housing development of Upton Park, to East Ham. It is here that we have followed Edith and her beau, grocery delivery boy Frank Leadbetter, to the Premier Super Cinema**, where the pair are treating themselves to one of their favourite Sunday pleasures: a feature film with a newsreel and cartoon before the main event.
Even though spring is finally in the air, it is cold out on the streets of London today, with a biting cold wind, so the warmth of the cinema’s foyer is a welcome respite from the weather outside after the journey up the High Street from the East Ham railway station. The foyer is brightly lit and cheerful. The cinema, renovated in 1922, isn’t called a picture palace for nothing, and no expense was spared with thick red wall-to-wall carpets covering the floors and brightly coloured up-to-date Art Deco wallpaper covering the walls, upon which the latest films are advertised in glamourous and colourful posters. Throughout the space, button backed*** armchairs and settees are arranged in intimate clutches around small tables, allowing patrons like Edith and Frank to await the commencement of their session in comfort. It is at one of these clusters that Edith sits patiently in her black three-quarter length coat and black dyed straw cloche decorated with lilac satin roses and black feathers, with her green leather handbag at her feet as she awaits her beau.
“Here we are then,” Frank says cheerfully. “Tea for my best girl.” He places two utilitarian white cups in saucers from the nearby cinema kiosk on the table that he and Edith are occupying in front of a vase of fresh, fragrant flowers. He takes his seat opposite her, enjoying the luxury of his plush seat as he does. “And,” He fishes into his coat pocket withdrawing a purple box and presents it to his sweetheart with a flourish. “A box of Gainsborough Dubarry Milk Chocolates****!”
“Oh Frank!” Edith exclaims in delight, her cheeks flushing red as she speaks. “You are good to me.”
“Nothing too good for my best girl!” Frank assures her.
Edith smiles as she looks at the beautifully decorated box featuring a lady with cascading auburn hair highlighted with gold ribbons, a creamy face and décollétage sporting a frothy white gown and gold necklace. She traces the embossed gold lettering on the box’s lid with reverence.
“You’re being very solicitous today, Frank.” Edith remarks as she picks up her teacup, staring at Frank as she takes a sip of hot, milky tea from her cup.
“Am I?” Frank replies in a question, his voice full of nonchalance as he picks up his own cup.
“You are, Frank.” Edith opines. “You know you are.”
“How so, Edith?”
“Well for a start, you agreed to come and see ‘Peter Pan’*****.” Edith replies, placing her cup back into her saucer.
“I like ‘Peter Pan’, Edith!” Frank retorts. “I have read the book, I’ll have you know.”
“Yes, but when you may have one of your last chances to see the ‘Thief of Bagdad’****** with swashbuckling Douglas Fairbanks, and you demur to my choice...” Edith does not complete her sentence, but stares across at her sweetheart.
“Oh fie the ‘Thief of Bagdad’!” Frank scoffs. “It will still be running here for a week or two yet. We can see it next Sunday.” He waves Edith’s repark away with a dismissive hand. “Anyway, I chose the last film we saw, ‘Chu-Chin-Chow’*******, and that had enough swashbuckling with villain Abou Hassan being stabbed by Zharat and his forty thieves done away with.”
Edith looks sceptically at Frank. “And this box of chocolates on top of our slap-up tea at Lyon’s Corner House******** in Tottenham Court Road?”
“What?” Frank retorts with incredulity. “Can’t a chap spoil his girl once in a while?”
“Oh, please don’t misunderstand me, Frank!” Edith quickly pipes up with a smile. “I’m not complaining!”
“I should hope you wouldn’t be.”
“But I can’t help being a little bit suspicious.” Edith arches her eyebrow over her right eye and purses her pretty pale lips.
“Well I like that!” Frank answers back, folding his arms akimbo across his chest in defence.
“This wouldn’t have anything to do with the fact that I went to see a clairvoyant the week before last, would it, Frank?” Edith fishes. “And that I didn’t see you last Sunday, because you had to take care of your granny?”
“Clairvoyant? What clairvoyant, Edith?” Frank asks, pleading innocence.
“Oh come on Frank!” Edith laughs. “You know Mrs. Boothby loves a gossip!” she goes on, mentioning Lettice’s charwoman********* who comes to help Edith with all the hard graft around Cavendish Mews a few days a week. “You can’t imagine us not talking, Frank.”
Ignoring her gentle chuckle, Frank continues to decry his irreproachability. “I don’t know what you and Mrs. Boothby talked about.”
“She told me that she saw you Tuesday week ago, the same day I went to see Madame Fortuna the clairvoyant in Swiss Cottage**********, and she told you that I was going to see her. There’s no use trying to say she didn’t, because I know that for all her tall tales and gilding of the lily***********, Mrs. Boothby wouldn’t do that with a story about you.”
Frank unfolds his arms and picks up his teacup, taking a sip of tea. “Alright, so I did meet her that day, Edith, and yes, she told me that you were going to see a clairvoyant, although her description of her was perhaps a little bit less kind than that.”
“Oh yes.” Edith chuckles. “She told me that it was a lot of mumbo-jumbo too, Frank.”
“Well, I don’t know if I’d disagree with her, Edith.” Frank says in concern, cocking an eyebrow. “You know I am a believer in facts, not fiction.”
“Well, I happen to be a believer in Madame Fortuna, and what she had to say.” Edith replies defiantly. “Which I don’t believe to be fiction.”
“And what else did Mrs. Boothby disclose about our meeting in Binney Street, Edith?” Frank asks.
“Oh, not so very much, Frank.” Edith replies with a smirk. “Just that you were out delivering groceries when she saw you.”
“And?” Frank queries.
Edith sighs. “And that she told you how distracted I’ve been about not having a commitment from you about getting married.”
“Which is utter pish-posh************, Edith, and well you know it.” Frank says seriously. “You know I’m committed to marrying you. You’re the only girl for me.”
“I know that, Frank. But Mrs. Boothby also said that you should be a bit more demonstrative with your dedication.”
“I doubt Mrs. Boothby would have used either the word ‘demonstrative’ or ‘dedication’.” Frank laughs.
“Maybe not, Frank.” Edith concurs, chuckling as well. “But she made the point clear, as I’m sure she did with you, Frank.”
“Indeed, she did.”
“So, this is you being more demonstrative of your dedication to me.” Edith says with a smile, toying with the box of chocolates, turning the pretty packaging over in her careworn hands.
Frank thinks for a moment ruminating over in his mind as to whether to tell his sweetheart about Mrs. Boothby’s suggestion that he get on with asking Edith’s parents for their daughter’s hand in marriage, which he did do last Sunday on his afternoon off: a visit which resulted in both George and Ada Watsford readily agreeing to the match. Then he thinks otherwise. Frank may not yet be able to afford a gold wedding band like those which he and Edith saw in the window of Schwar and Company************* along Walworth Road in the South London suburb of Elephant and Castle************** a bit over a month ago, but he has almost finished paying off a silver ring intended for Edith at a smart jewellers shop along Lavender Hill***************, not far from his boarding house in Clapham Junction. Although simple, Frank is having his and Edith’s names engraved on the inside of the band, along with the year 1925. He still wants to surprise Edith with his proposal and the ring, so he decides not to say anything about visiting her parents, knowing that after his conversation with them, that they will not steal Frank’s thunder and give the game away, although it will be far harder for Ada, who is very close to her daughter.
Frank raises his hands. “Guilty as charged, Edith.”
“Oh Frank!” Edith exclaims, a smile of delight breaking out across her lips. “You really are sweet!”
Edith reaches out her hand to him across the polished wooden surface of the pedestal table. Frank stretches out his own hand and allows her to enmesh her fingers with his and squeeze them. The action is only small, but so intimate and full of emotion that Frank takes great comfort from it. Even though Edith does not know his grand plans yet, he knows that everything is alright between the two of them now, and any doubts Edith may have had about his commitment to her have been dispelled by his actions, Mrs. Boothby’s consoling words with Edith at cavendish Mews, whatever prediction Madame Fortuna the clairvoyant made, or most likely a mixture of all of these things. Frank smiles reassuringly across at his sweetheart, who returns his smile wholeheartedly.
“I keep telling you, Edith.” Frank murmurs as his cheeks colour. “You’re not only my best girl, you’re my only girl.” He returns her gentle squeeze with one of his own.
“Well, just you keep telling me that, Frank.” Edith replies softly, looking across at Frank with loving eyes a-glitter with emotion. “I may know it, but I’ll never tire of hearing it.”
“With pleasure, Edith, my best and only girl.” Frank answers.
Just then, the double doors near to them open and with the voluble burble of cheerful chatter, people begin to file out the door in pairs or small groups. Edith and Frank watch the passing parade of mostly women and a smattering of men in their Sunday best as they exit the cinema auditorium, all murmuring about the film they have just seen. As the crowd thins to a trickle with the stragglers leaving the theatre and the vociferous burble of voices dissipates, Frank turns to Edith.
“By the by, what did the clairvoyant, madame whatshername tell you, anyway?”
“Never you mind, Frank Leadbetter!” Edith replies with an air of mystery as she stands up, snatching up the box of chocolates as she does. “She told me the truth. That’s all you have to worry about.”
Frank gets up and follows Edith as they join the crowd of chattering cinema goers as they go into the brightly lit auditorium, and make their way to their plush red velvet seats.
Inside the theatre a fug of cigarette smoke fills the auditorium, a mixture of that created by the previous audience and a few new patrons who just start to light up before the house lights go down. The space is filled with the faint traces of various perfumes, which mix with the stronger traces of cigarettes, fried food, and body odour. Around them quiet chatter and the occasional burst of a cough or a laugh resound. It feels cosy and safe. At the front of the theatre, in a pit below the screen, a middle aged woman whom they have come to recognise by sight from their many trips to the Premier Super Cinema, appears dressed in an old fashioned Edwardian gown with an equally outmoded upswept hairdo that went out of fashion before the war. She starts to play the upright piano with enthusiasm, dramatically banging out palm court music for the audience before the beginning of the newsreel.
Settling in their plush red velvet seats in the middle of the auditorium, Frank winds his arm around Edith’s shoulder. “I love you, my best girl.”
Behind them the projector whirrs to life as the lights dim. Suddenly the screen is illuminated in blinding, brilliant white as the pianist in the pit below the screen starts to play the playful opening bars to the music to accompany Peter Pan.
“I love you too, Frank Leadbetter.” Edith replies as she opens her box of Gainsborough Dubarry Milk Chocolates and proffers the open end to Frank so that he may help himself to one of the delicious, foil wrapped chocolates inside.
*Petticoat Lane Market is a fashion and clothing market in Spitalfields, London. It consists of two adjacent street markets. Wentworth Street Market and Middlesex Street Market. Originally populated by Huguenots fleeing persecution in France, Spitalfields became a center for weaving, embroidery and dying. From 1882, a wave of Jewish immigrants fleeing persecution in eastern Europe settled in the area and Spitalfields then became the true heart of the clothing manufacturing district of London. 'The Lane' was always renowned for the 'patter' and showmanship of the market traders. It was also known for being a haven for the unsavoury characters of London’s underworld and was rife with prostitutes during the late Victorian era. Unpopular with the authorities, as it was largely unregulated and in some sense illegal, as recently as the 1930s, police cars and fire engines were driven down ‘The Lane’, with alarm bells ringing, to disrupt the market.
**The Premier Super Cinema in East Ham was opened on the 12th of March, 1921, replacing the 800 seat capacity 1912 Premier Electric Theatre. The new cinema could seat 2,408 patrons. The Premier Super Cinema was taken over by Provincial Cinematograph Theatres who were taken over by Gaumont British in February 1929. It was renamed the Gaumont from 21st April 1952. The Gaumont was closed by the Rank Organisation on 6th April 1963. After that it became a bingo hall and remained so until 2005. Despite attempts to have it listed as a historic building due to its relatively intact 1921 interior, the Gaumont was demolished in 2009.
***Button back upholstered furniture contains buttons embedded in the back of the sofa or chair, which are pulled tightly against the leather creating a shallow dimple effect. This is sometimes known as button tufting.
****Starting in the Edwardian era, confectioners began to design attractive looking boxes for their chocolate selections so that they could sell confectionary at a premium, as the boxes were often beautifully designed and well made so that they might be kept as a keepsake. A war erupted in Britain between the major confectioners to try and dominate what was already a competitive market. You might recognise the shade of purple of the box as being Cadbury purple, and if you did, you would be correct, although this range was not marketed as Cadbury’s, but rather Gainsborough’s, paying tribute to the market town of Gainsborough in Lincolnshire, where Rose Bothers manufactured and supplied machines that wrapped chocolates. The Rose Brothers are the people for whom Cadbury’s Roses chocolates are named.
*****Peter Pan is a 1924 American silent fantasy adventure film released by Paramount Pictures, the first film adaptation of the 1904 play by J. M. Barrie. It was directed by Herbert Brenon and starred Betty Bronson as Peter Pan, Ernest Torrence as Captain Hook, Mary Brian as Wendy, Virginia Browne Faire as Tinker Bell, Esther Ralston as Mrs. Darling, and Anna May Wong as the Indian princess Tiger Lily. The film was seen by Walt Disney and inspired him to create his company's 1953 animated adaptation. The film was celebrated at the time for its innovative use of special effects (mainly to show Tinker Bell) according to Disney's 45th anniversary video of their adaptation of Peter Pan. In 2000, this film was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry.
******The Thief of Bagdad is a 1924 American silent adventure film directed by Raoul Walsh and starring Douglas Fairbanks, and written by Achmed Abdullah and Lotta Woods. Freely adapted from One Thousand and One Nights, it tells the story of a thief who falls in love with the daughter of the Caliph of Baghdad. In 1996, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant"
*******Chu-Chin-Chow is a 1923 British-German silent adventure film directed by Herbert Wilcox and starring Betty Blythe, Herbert Langley, and Randle Ayrton. Abou Hassan and his forty thieves descend on a small Arabian town on the wedding day of Omar and the beautiful Zharat and kidnap them. Abou sells Zahrat to Kasim Baba, the miser and money lender of Bagdad, while posing as Prince Constantine. Later, Abou poses as the wealthy Chinese prince Chu-Chin-Chow, and bids on Zahrat when she is placed at auction. She pierces his disguise and exposes him. He robs the other bidders of their wealth and escapes with Zahrat. Promising that she will live among untold wealth, he sets her free. After she finds Omar, Abou takes them to his treasure cave, making good on his promise. Ali Baba, brother of Kasim, accidentally discovers the cave and helps himself to the treasure. He then goes for aid to free Zahrat. Kasim, led by his greed, also comes to the cave but is captured and killed by Abou. Zahrat, now free, returns to Bagdad. Ali Baba gives a great feast. Abou appears as a merchant with forty jugs of oil, in which are hidden his forty thieves. Zahrat discovers the deception and, assisted by a powerful slave, they get rid of the hidden thieves. Left alone, Abou is denounced and the multitude turn on him. Cornered, he is stabbed by Zahrat who then returns to her village and finds happiness with Omar.
********J. Lyons and Co. was a British restaurant chain, food manufacturing, and hotel conglomerate founded in 1884 by Joseph Lyons and his brothers in law, Isidore and Montague Gluckstein. Lyons’ first teashop opened in Piccadilly in 1894, and from 1909 they developed into a chain of teashops, with the firm becoming a staple of the High Street in the United Kingdom. At its peak the chain numbered around two hundred cafes. The teashops provided for tea and coffee, with food choices consisting of hot dishes and sweets, cold dishes and sweets, and buns, cakes and rolls. Lyons' Corner Houses, which first appeared in 1909 and remained until 1977, were noted for their Art Deco style. Situated on or near the corners of Coventry Street, Strand and Tottenham Court Road, they and the Maison Lyonses at Marble Arch and in Shaftesbury Avenue were large buildings on four or five floors, the ground floor of which was a food hall with counters for delicatessen, sweets and chocolates, cakes, fruit, flowers and other products. In addition, they possessed hairdressing salons, telephone booths, theatre booking agencies and at one period a twice-a-day food delivery service. On the other floors were several restaurants, each with a different theme and all with their own musicians. For a time, the Corner Houses were open twenty-four hours a day, and at their peak each branch employed around four hundred staff including their famous waitresses, commonly known as Nippies for the way they nipped in and out between the tables taking orders and serving meals. The tea houses featured window displays, and, in the post-war period, the Corner Houses were smarter and grander than the local tea shops. Between 1896 and 1965 Lyons owned the Trocadero, which was similar in size and style to the Corner Houses.
*********A charwoman, chargirl, or char, jokingly charlady, is an old-fashioned occupational term, referring to a paid part-time worker who comes into a house or other building to clean it for a few hours of a day or week, as opposed to a maid, who usually lives as part of the household within the structure of domestic service. In the 1920s, chars usually did all the hard graft work that paid live-in domestics would no longer do as they looked for excuses to leave domestic service for better paying work in offices and factories.
**********Swiss Cottage is an area in the London Borough of Camden. It is centred on the junction of Avenue Road and Finchley Road and includes Swiss Cottage tube station. Swiss Cottage lies north-northwest of Charing Cross. The area was named after a public house in the centre of it, known as "Ye Olde Swiss Cottage".
***********The term “gilding the lily” came about as a mistaken version of a line from King John, which was “to gild refined gold, to paint the lily.”, and means to adorn unnecessarily something that is already beautiful or perfect.
************Pish-posh is a phrase used in British slang to express disagreement or to say that something is nonsense. The exact origin of this phrase is not precisely documented, but it is considered a colloquial and informal expression that has been in use for many years. It is often used to express scepticism or disagreement in a light hearted manner.
*************Established in 1838 by Andreas Schwar who was a clock and watch maker from Baden in Germany, Schwar and Company on Walworth Road in Elephant and Castle was a watchmaker and jewellers that is still a stalwart of the area today. The shop still retains its original Victorian shopfront with its rounded plate glass windows.
**************The London suburb of Elephant and Castle, south of the Thames, past Lambeth was known as "the Piccadilly Circus of South London" because it was such a busy shopping precinct. When you went shopping there, it was commonly referred to by Londoners, but South Londoners in particular, as “going up the Elephant”.
***************Lavender Hill is a bustling high street serving residents of Clapham Junction, Battersea and beyond. Until the mid Nineteenth Century, Battersea was predominantly a rural area with lavender and asparagus crops cultivated in local market gardens. Hence, it’s widely thought that Lavender Hill was named after Lavender Hall, built in the late Eighteenth Century, where lavender grew on the north side of the hill.
This beautiful Art Deco cinema interior is not all it appears to be, for it is made up entirely with pieces from my miniatures collection.
Fun things to look for in this tableau include:
Edith’s green leather handbag I acquired as part of a larger collection of 1:12 artisan miniature hats, bags and accessories I bought from an American miniature collector Marilyn Bickel. The umbrella comes from Melody Jane’s Doll House Suppliers in the United Kingdom.
The pedestal table , vase of flowers, white teacups and saucers and two flounced red velvet chairs all come from Kathleen Knight’s Doll’s House in the United Kingdom, whilst the dainty box of Gainsborough Dubarry Milk Chocolates, which has been beautifully printed, on the table’s surface, comes from Shepherd’s Miniatures in the United Kingdom.
The chrome Art Deco smoker’s stand in the foreground is a Shackman miniature from the 1970s and is quite rare. I bought it from a dealer in America via E-Bay. The black ashtray inside it is an artisan piece, the bowl of which is filled with “ash”. The tray as well as having grey ash in it, also has a 1:12 cigarette which rests on its lip (it is affixed there). The match box in the stand was made by Little Things Dollhouse Miniatures in Lancashire.
The Art Deco pedestal stand in the foreground has been made by the high end miniature furniture maker, Bespaq, whilst the vase of flowers on it comes from Falcon Miniatures in the United States, who are well known for their realistic and high quality miniatures.
The posters around the cinema walls were all sourced by me and reproduced in high quality colour and print.
The geometric Art Deco wallpaper is beautiful hand impressed paper given to me by a friend, who did so in the hope that I would find a use for it in the “Cavendish Mews – Lettice Chetwynd” series.
The thick and bright red carpet is in fact a placemat which I appropriated in the late 1970s to use as a carpet for my growing miniatures collection. Luckily, I was never asked to return it, and the rest of the set is long gone!
The Sally May site on Fossil Creek Wild and Scenic River offers some of the best swimming along the entire creek. There are two parking areas on either side of the bridge, which crosses Sally May Wash, on FR 502 (the Childs Power Road). Each lot has a path leading to separate pools along the creek.
On the east (upstream) side of the bridge, the path leads to a large, deep pool at the base of a steep water feature. Rock shelves and cliff walls provide a lot of great spots for sunbathing and enjoying the canyon views. A smooth rock outcrop makes a great jumping-in spot. A small sandy beach at the far end of the pool offers shallow water entry and a good spot for smaller children to play.
On the west (downstream) side of the bridge, there's a large open area above the parking lot that makes a great spot for a family picnic. The path to the creek leads to another swimming hole at the base of beautiful water feature. There are rocky banks to relax on, and a shallow sandy entry point not far downstream near a gravel-bottomed section of creek that is a great place to wade and splash. A bit of the creek's history remains along the banks here, structures from the days the Childs-Irving hydroelectric power plants used the creek to generate power for nearby mining communities like Jerome, Arizona.
Increasing popularity has led to the Coconino and Tonto National Forests to implement a parking permit reservation system in 2016. As of 2017, permits are required April 1 to October 1. Visit Fossil Creek Wild and Scenic River for current information and to reserve a permit.
Photo taken by Deborah Lee Soltesz, April 10, 2017. Credit USFS Coconino National Forest. Learn more about visiting Fossil Creek Wild and Scenic River managed by the Coconino National Forest.
Following the 6½ Litre released in 1926, Bentley thoroughly updated the design with a more powerful engine. This flagship model was bodied by the best British coachbuilders and also raced with great success alongside the 4½ Litre. It was Walter Owen Bentley's favorite model and became the firms most successful car on the track.
Bentley gained much respect after proving their endurance at the 24 Hours of Le Mans and winning many English races including the Tourist Trophy and Brooklands Double 12. In fact, Bentley was at the very first 24 Hours held in 1923, and won the event in 1924, 27, 28, 29 and 30. These later victories were achieved with specially fitted Speed Sixes which was one of Walter Owen Bentley's favorite cars.
The basis for all of Bentley's cars was an engine which in many respects was ahead of its time. Drawing upon experience gained from working at the Great Northern Railway and designing airplane engines, Walter Owen Bentley included such characteristics as aluminum pistons, dry-sump lubrication, twin spark ignition and an advanced valve train in his engines. Early models featured four cylinders and after 1925, Bentley released a straight six which would become his highlight work, and provide necessary power for heavy coachwork and grand touring. Expanding on the ½ Litre, the main upgrade for a Speed 6 was a square-section intake manifold that increased power from 147 to 160 bhp and later 180 bhp with a slight redesign using a single port.
All Speed Sixes are identified by their parallel-sided radiator and green enameled badges unlike the standard blue label for the 6½ Litre.
HM2861-1930 Corsica Coupe. Delivered new to Mr J.W. Bealey on September 30th. Participated in Bentley's 50th anniversary celebration at Le Mans in 1980 and was displayed at the 1985 Pebble Beach Concours. Fully restored in 1998, the car was offered for sale with an asking price of $1,850,000 USD at Blackhawk's 2001 Pebble Beach Sale.
Read more at:
www.supercars.net/cars/2874.html
The Corsica Company (taking their name from their address on Corsica Street in Kings Cross, London) specialised in bodies of a sporting character mounting them on such chassis as those from Bugatti, Mercedes-Benz, and a Rolls-Royce during the 1930's. They produced only two on Bentley chassis. One was a sports touring body for a 1931 9.0 litre on a shortened chassis, which was formerly owned by Briggs Cunningham and now is part of the Collier Collection. The other is this very imposing coupe, bordering on the sinister in appearance, which is on the 12' 8 1/2" wheelbase Speed Six chassis.
This miniland-scale lego model 1930 Bentley Speed Six Corsica Coupe has been created for Flickr LUGNuts' 78th Build Challenge, - 'Places, Everyone!' - featuring vehicles that have been named after places. In this case, the Corsica Street, Kings Cross, London address of the Corsica Works body builders. Though the street was probably originally named after the island of Corsica in the Mediterranean Sea.
French postcard by Editions P.I., Paris, no. 1041, offered by Les Carbones Korès 'Carboplane'. Photo: Studio Vallois.
Beautiful blonde Anny Nelsen (1942) was best known in France as Miss Angora. She also appeared in a dozen French film, including the Nouvelle Vague classic Jules et Jim (1962).
Anny or Annie Nelsen was born in 1942. She made her first film appearance with an uncredited bit part in the German-French romantic comedy Ein Engel auf Erden/An Angel on Wheels (1959, Géza von Radványi ) starring Romy Schneider. She also appeared in the action thriller Ça va être ta fête/ It's Your Birthday (1960, Pierre Montazel) starring hard boiled Eddie Constantine, and in the short film Rupture/ (1962, Jean-Claude Carrière, Pierre Étaix) starring the 'forgotten' French comic Pierre Étaix. This 11 minutes-long-film won an award at the Mannheim-Heidelberg International Filmfestival, and the First Prize at the International Short Film Festival, Oberhausen. Her next film would turn out to be her most successful one. She played the supporting part of Lucie in the classic love triangle Jules et Jim/Jules and Jim (1962, François Truffaut) with Jeanne Moreau and Oskar Werner. James Travers at Films de France: “Jules et Jim, François Truffaut’s undisputed masterpiece, was one of the high points of the French New Wave, a film which, with its uninhibited portrayal of free love and male friendship, instantly caught the Zeitgeist and became a worldwide success.”
Anny Nelsen was better known as a glamour model and sexy dancer than as an actress . Her main claim to fame was her election as Miss Angora, which was mentioned on the backside of the pictured postcard. After Jules et Jim, Nelsen did not appear in films for five years. In 1967 she returned to the screen with a small part in the comedy Le grand bidule/The large contraption (1967, Raoul André). The following year she appeared in three films, Les jeunes loups/Young Wolves (1968, Marcel Carné) with Yves Beneyton, the historical drama Mayerling (1968, Terence Young) starring Omar Sharif and Catherine Deneuve, and the thriller La main noire/The Black Hand (1968, Max Pécas). Five years later she made her final film, Lo Païs (1973, Gérard Guérin), the first feature film in Breton.
Sources: James Travers (Films de France), Mario Gauci (IMDb), Wikipedia, and IMDb.
Just outside Sweet Home, Oregon, the Quartzville Wild and Scenic River corridor offers a full glimpse at what makes the Pacific Northwest an outdoors lover’s paradise.
Hike and explore along the serene Quartzville River. Set up camp among some of the largest old growth trees in Oregon. And of course, fish the river all morning and swim in it in the afternoon.
Yellowbottom Recreation Site offers overnight camping with a camp host, potable water, river access, hiking trails, vault toilets, garbage service, and a day-use area with five picnic sites.
Know Before You Go:
Recreational mining is allowed along the BLM portion of the Quartzville Wild and Scenic River.
Camping is limited to designated campsites. It is available on a first-come, first-serve basis.
Fires are limited to the steel fire rings or grills provided.
Firewood collection is NOT allowed at developed campgrounds.
Fees: $12 per night, per campsite, $5 per night per extra vehicle.
Trash: Pack it in, pack it out at non-developed campsites.
Directions:
From Sweet Home: Drive east 5 miles on US-20 E/Main St. toward 22nd Ave. Turn left on to Quartzville Road, continue on Quartzville Road for 18 miles.
From Sisters: Drive west 26 miles on US-20 W/W Cascade Ave., continue on US-20 W for another 42 miles. Turn right on Quartzville Road, continue on Quartzville Road for 18 miles.
Point of Interest: Old Miner’s Meadow offers a 2-acre gated group reservation camping area. Old Miner’s Meadow is located on a unique stretch of the River.
For more information visit: www.blm.gov/or/resources/recreation/site_info.php?siteid=224
Contact:
Salem District Office
1717 Fabry Rd
Salem, OR 97306
503-375-5646
Full photo album for Quartzville Creek corridor: www.flickr.com/photos/blmoregon/albums/72157653891249264
Photo and video captured summer of 2015
Produced by Larry Moore, BLM